I imagine simple-shaped patterns from objects. For example, I see paddy fields as rectangles and a banana as a curved line. The images I visualize become the founding materials of my artistic practice and are used to create new forms. In this process, I use computer graphic programs to experiment with different variables. The virtual image, designed through the computer, is recreated by hand on canvas or paper to complete an artwork.

 

Of the basic geometric shapes, circles and rectangles contain irrational numbers such as the π and √2 which are made of infinite random numbers. Such ratios are logical concepts, but geometry turns them visible to the eyes. Making something visible is, in essence, making use of the human body’s senses. This lets people experience that which is beyond the particular characteristics of a single object.

 

I have contemplated the idea of symmetry and repetition, somewhat similar to the condition where a particular structure repeats infinitely in the shape of another structure. However, our world is made of asymmetry and non-repetition. As such, daily life consists of repetitive days, yet yesterday, today, and tomorrow are all different. The petals of a flower may seem symmetrical, but upon closer examination, each shape is unique and different. Likewise, the world is mostly predictable, but it is difficult to foretell the details.

 

In short, we stand upon the border which divides the comprehensible and the incomprehensible. The incomprehensible incites curiosity, which led humanity to accumulate knowledge. Knowledge is a means to ‘perceive the world’ and is also connected to the sense of sight. I see a scenery different from another person because our cognitive pathways are different. So, I assume that the central premise of my artistic practice is to find the similarity (patterns) between the I and the other, as well as the uniquenesses.

 

- 2018, Cheolwon Chang

I used to live in a house which had paper windows. I still remember the scene I saw sunshine was coming up to me from between the wall and window. From time to time, I made a hole on the paper window and gazed the outside. The paper window for me at that time was a window to let me be connected to the outside, and a partition to cover me from the outside. The ribs of a paper window were very simple, but had quite sophisticated regularity. Rafter, wooden floor, pillar, wall, fence or double window had a certain grid regulation which consisted of proportion, symmetry and repeating lines just like the paper windows. Even a child like me could possibly imagine that those images, which were sealed in mind, were able to link the world and myself together.

 

One day, I observed the surface of an orange cut in half. Each pulp grain was unique in its shape and arrangement, but in whole, they were symbiotically arranged towards the center forming a sphere. Unlike apple or cherry that has seeds inside, the orange lacks a conspicuous midpoint(core), but it nonetheless formed an orb through its original composition. In this sense, I thought orange is somewhat a small version of the earth. Not only are they both globular thus visually similar, but both their members are likewise unique in character and shape. Moreover, like granule after granule accumulate to form a complete orange, even the most complex object is but a collection of simple shapes split into parts. When these parts are geometrically drafted, the results are simple shapes as triangles or circles.

 

Each figure that represents the minimal version of objects possesses its own shape, scale, distance and angle, and it overlaps each other following the regulation of geometric composition in single frame in order to create a second figure. As I had studied the structural formation of my childhood house by observing the geometrical images and objects in that place, those mathematical notations from my experience and study have built up all the fundamental thoughts for my artwork.

- 2015, Cheolwon Chang